After finishing with the research portion of Yishun, I have found that I did enjoy

taking photos of the architecture. However, the photos around Yishun about

HDBs and HDB motifs did not really interest me. I had initially pitched to Shirley

that I wanted to do something along the lines of a industrial park mama shop

that had personal value to me. However, after revising my plan and thinking it

through carefully, I wanted to do something different from what has been done,

sort of.

 

When we started on LOCALE, we were given a look at zines done by seniors

previously. One thing I noticed was that almost nobody did photo shoots /

included people in their zine. They were solely focused on elements presented

in their area of research. I was certainly excited about this as I would be doing

something more ‘original’ in that sense. On the contrary, I would have trouble

finding materials to reference. Whatever was the case, I do like a bit of challenge.

I was inspired to do this zine by this image I found on pinterest. It had a very

simple street wear element which I liked.

As a start, I decided that these were the things I had to complete.

  1. Plan and execute a photo shoot in Yishun.
  2. Have them edited.
  3. Layout of zine.
  4. Illustrate quirky elements of Yishun with the chosen images.
  5. Colour correction.

Photo shoot

I have never done a photo shoot before, so I went on youtube and watched a

bunch of videos on what to prepare/plan and execute on the day itself. I pulled

in two friends (Lisa and Shawn) to help with the shoot. I had also asked three

of my friends(Jia Hui, Jessical and Praveen) to model. Sifting through the

photos that I took from my research, I settled on a location at BLK348B. This

location took me by surprise as I cycled through the Yishun neighbourhood

with a dslr on hand. I really liked the clean look it presented; contrasted to the

old neighbourhood it is surrounded by.

I didn’t really focus too much on this location until I reviewed my photographs

and concept. To do more research on the location, I went on googlemaps to

find more photos.

After reviewing the location, I asked my models to bring clothing that were

mustard yellow and turquoise to fit with the location, and red for contrast.

I looked up some photos on pinterest to reference the look/vibe/poses I wanted

for them.

Shooting took about 3 hours and we managed to finish it in a day (30th March)

These are some of the photos taken. Some are behind the scenes.

Layout + Editing

I spent the longest time editing and settling on the layout. With over 600 raw shots,

I was rather indecisive and unsure of what photos to use for my final zine. I had to

change them from time to time. However, I really enjoyed this process as I began

to understand what I wanted out from this zine. After choosing the photos, I then

had to decide on how I would place my photos to make them interesting.

At this point, I started placing my images into my desired layout, which I have

gained inspiration from these current layouts.

Cover page:

Zine spread layouts:

Layouts I tried

Cover Page

I roughly stuck to this cover as I thought it looked good.

I did mask some parts of the Fashion word and put in

the Yishun text into the cover page. I had plenty of text

all over the cover page but I decided to remove them in

the end because the clutter was unnecessary and there

wasn’t much text that I wanted to include. I did include a

‘March Edition’ at the bottom to contextualize the zine.

Page 2 and 3

I decided to scale down the photo as I didn’t want the photo to eat up the entire

page. This way, I was able to design more onto the zine and not simply rely on

illustrations.

Page 6 and 7

Initial idea for my pages. The entire spread kind of felt abit block-ish and

uncomfortable. I rearranged the photos later on to form a nice ascending gra-

dient from left to right.

 

Some masking and editing I done:

Patterns and shapes

In my final zine, you can see that I have certain elements with lowered opacity

and shapes that interact with one another. I decided to do a

polka dot pattern/motif on my page 4 to draw the reader’s attention. At one point

I felt slightly too ambitious since I am using three programmes concurrently

(Photoshop, Indesign and Illustrator).

Masking and placement

After the shoot I researched on some weird happenings that have occurred in

Yishun. These would help incorporate the unique Yishun element in my zine.

Note: I did not reference everything 1:1, I had made my own creative changes.

Some of these happenings were:

Man brings cow into lift

Cat murders

Man murders wife

Giant moths and caterpillars

Slashing incident

Illustration

Shirley encouraged me to use Illustrator for the drawings. As I am usually

more inclined to using Photoshop for drawings, I struggled to get started

on illustrator. However, I did manage to get myself to sit down and watch

tutorials on illustrator. I thought, since I had to use it in the future anyways,

I should learn on my own as well. I was happy with my progress and I followed

Shirley’s advice; to draw Yishun-quirky elements onto the existing images

to create interest. Some of them were drawn on photoshop to give a more raw

feel to the images. These are some of the drafts:

I took a photo for reference to draw for the scary looking hands ->

 

I decided not to do illustrations for my cover page to hold the suspense for the

readers, as to not expose my zine elements for my viewers.

I used Photoshop to create a map for Blk 348B location. This was how it looked

in the process.

 

Colour correction

Original colours used.

Colours I chose in the end (after consultation with Shirley) as the initial

colours were very saturated and kiddish.

Fonts used:

I had to spend time to find the fonts that were suitable for my zine. From what

I have researched, I could tell that ‘street wear’ fonts were pretty basic, which

made sense, because they followed that of street signs or metro signs. That,

essentially, makes it street-ish as it borrows elements that are true to its form.

I tried out several fonts, namely:

Conclusion:

I was generally pleased with the pace and results of this project. As I had to

sketch out what had to be done beforehand, I was able to give myself ample

time to segment each step so that I can submit on time. There were a lot of

work to be done, and I knew that it wouldn’t be possible to churn out a zine

in a short amount of time. I took my time with every step, changing bits and

pieces and asked my friends on how to improve it. Shirley’s week by week

consultation kept me up to speed and made sure I was able to produce

something to consult and change on a weekly basis.

I felt that the photo shoot was the hardest/most stressful one to plan for as I

was constantly worried that the shots did not turn out the way they should

(or according to my mood board) and it rained for a bit which really threw me

off as I wasn’t sure when it’d stop. Overall, I am glad to be learning something

new with every step and this project forced me to go out of my comfort zone

to experiment and develop my own style. I am immensely relieved that I

abandoned my previous idea of industrialized mama shop to a streetwear

zine.

 

References:

https://www.pinterest.com/cheahruihong/yishun-inspo/

https://hypebeast.com/

Why Yishun is the most terrifying place to live in Singapore

For research process of Yishun,

check out: https://oss.adm.ntu.edu.sg/rcheah002/locale-presentation-yishun/

Thank you for reading!

 

 

 

 

Roman Ondak
(Slovak, born 1966)

Measuring the Universe

 

 

 

 

 

 

 

 

 

 

 

 

I found Roman Ondak’s work really special, the simple gesture of recording down the name and particulars of each individual
that went to the exhibition according to their height created a thick line across the room. The work has personality,
creativity and most importantly, to me, it was created through individualism. In participatory art, the artwork grows along
with the participation, and watching the exhibition unfold was really interesting. Roman Ondak portrayed how simple it is
to create an artwork through our uniqueness.

Erwin Wurm

(Austria, 1954)

Ice Head 2003

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Erwin Wurm invites participants to interact with the art pieces, which have holes in them specifically for the participants to stick a limb in and pose for a photo. With the involvement of the participants, the art piece, which initially seemed mundane and uninteresting, suddenly comes to life and also has a little bit of humour embedded in the participatory art. In a way, the art piece cannot be recreated in that exact setting, making it more intriguing and unique.

Glorification of Vices

We live in a society where drinking alcohol and smoking cigarettes are becoming inherently normal. The crave for a mild, temporary buzz from smoking a cigarette and tipsiness experienced from having a little too much alcohol is increasing, especially among the younger generation. The illusion of fulfillment and contentment by undertaking vices is widespread. Pop culture, which promotes alcohol consumption and other vices as a prerequisite to having a ‘good time’, has a strong influence on its young audience. This plaguing plight of mindset changes may ultimately lead to wrongful glorification of vices, of which some are so afraid of. We must be more aware of doing the morally right thing, especially when faced in tough situations when we are convinced otherwise. In this era of defiance and rebelliousness, who will hold firm to their ethics? Why do we glorify such bad behaviours, when we are clearly aware of the consequences?

Concept

Influence.

I want to show, through a series of simple drawings created by 10 participants,
the presence of influence we have on each other, whether in a big or small way.
I folded 2 A4 cardboards, attached 2 different flowers on one end of the cardboard,
and cut a hole on the other end.

The presentation went as followed:
The 10 participants would be separated into two groups: One would be able to see
what each other have drawn, the other group would not be able to do so.
They would go take turns to enter the classroom, and the participants were not
allowed to communicate verbally. They would then insert one hand into the cardboard box
and feel the object, and draw whatever they felt the object was. There was a little twist
to this, I switched the boxes around after the second person from each group had drawn their
drawings. The third person from each group would then draw a different object, and because
they were not allowed to communicate, they would not know that it was changed. The group
that were allowed to refer to one another’s work ended up drawing similar items even though
their objects had changed.


The group that was not allowed to refer to each other’s work drew objects of their own interpretation. I explained to the class afterwards that my point was made, that we were inevitably affected by one another, and this extended much further than simply drawing flowers from a cardboard box. Consider influence in a bigger context, such as in our daily lives. We are affected by the choices that others make, such as giving bad reviews to a particular movie and bringing down its ratings. We would always check the reviews of a movie before watching, and would more often than not skip the movie if it had terrible reviews.

Feedback:
The objects could have had more difference to make the participants think twice about what they were drawing.

Reflection: I was glad that I was able to convey my ideas through a simple participatory work, and with a revision, I believe that the work could have an educational aspect for the younger generation and possibly educate on the importance of having individualism.

Aleksander Titovets is a Russian Painter who has painted a little over 26 years in his life. He partners with his wife, Lyuba Titovets to share a studio in El Paso, where he aims to develop the thriving art scene in El Paso.

Divine Curtain, oil, 24 X 30

This piece of artwork is breathtaking. The well-composed piece, due to the good use of rule of thirds, draws viewer’s attention to not only the sun rays, but also the houses that are brightened by the sun light. The mountain provides good contrast between the sky and houses, completing the image in a single setting. The magnificence of the dark, dull sky is balanced by the subtle array of houses that occupies the foreground. The clear distinction of foreground, mid ground and background can be seen in this painting, and I really enjoy the interaction between the background and the foreground. The subject, in this case, may be a tough call between the mountain which sits perfectly in the rule of thirds, or the houses that occupy the foreground. In my opinion, in view of the artist’s juxtaposition of his artwork, I would say that he placed more emphasis on the houses that are being shined on. There are also subtle leading lines created by the clouds towards the background, and the tones presented in the oil painting helped create a sense of depth.

Autumn, oil, 40 x 30

This painting is of a scenery, replaces negative space with leave less tree branches to bring across the idea that Autumn is approaching. The painting is not cluttered with elements, but is rather focused on two individuals strolling down a long grey path casually. There is almost no sign of stress in this painting, as the two enjoy a slow and carefree walk along the long and narrow path. The artist uses faint leading lines, and creates a subtle background to extend the viewer’s perception of how long the path is. The mountain in the background helps create this effect. The controlled use of colours help provide a calming atmosphere in the picture.

Cascading Interlude, oil, 30 X 24

The mountain sits in the third of the image, blowing out what seems to look like volcanic ashes, or they could be clouds brewing in the background. The carefully composed pictures draws a lot of attention to what is happening in the background. Although there is a lot of colours and details put into creating the foreground, the focal point of viewers is pulled towards the extensive strokes of the brush in the background. The use of tonal values creates a magnificent effect for the viewers. Titovets creates a leading line through the painting of the road to draw the viewers attention to what is happening on the mountain.

Corner at the Park, oil, 16 X 20

Corner at the park, with simple composition of still life. The snow is drawn carefully, with shadows indicating a multitude of trees that is behind the artist. The artist is sat in the cold, icy park facing a line of buildings. Though there is no specific subject matter, there is a deep emphasis on the snow on the ground occupying both the foreground and mid ground. The foreground is well toned, with clear indication of shadows. A very simple looking yet complicated piece of scenery painting, Corner at the Park brings about a sense of absence, yet filled with the element of trees that are about to change leaves according to the season.

Laura Bush, oil, 38 3/4 X 36

Sitter, Laura Bush, opening a book with a gaze at the artist, Titovets. An almost full body painting of Laura Bush, the artist carefully captures her in the foreground, with a vase of flowers in the mid ground, and buildings outside of the windows in the background. The clear detonation of spacial awareness brings the painting to life. There are clear indications of shading and toning, adding to the realism of the painting. The artist is very detailed with his strokes, and does not skim through on the details on the couch and even the reflections on the table holding the vase of flowers.

New Beginning, oil, 34 1/2 X 40 1/2

This is one of my favourite piece by Aleksander Titovets. The two subject matters, shown as walking past one another, tells of a story that can be widely interpreted. The artist in the back, holding on a set of rolled newspapers with a canvas, can be seen staring at the lady in red who is holding a stalk of flowers. His almost raised eyebrow look gives off a sense of sadness, showing interaction between the two subject matters. The composition removes any unwanted focus taken off from the subject matter, and the painting is well toned, adding a sense of realism to the subjects.

Ripe with Time, oil, 24 X 30

Another scenic painting, one of each that holds its own sense of intrigue and surprise. Titovets works are not repetitive, instead refreshing and provokes thinking in every new painting. The tinge of yellow in the right top corner of the painting is striking, and diversifies the shades of the sky in this painting. The forest does not hold much presence in the drawing, and the viewer’s focus is drawn to the mountain and the vast skies behind and on top of it. The artist’s sense of time is clear in the painting as it shows sunset.

Roses and Peaches, oil

A still life drawing with a combination of roses and peaches. The drawing uses rule of thirds, in which the artist brings the viewer’s focus onto the roses held in the vase, with a peaches littering the tabletop. The artist’s usage of values and tones brought out the reflective surface of the table. The roses are painted in bright, vibrant warm colours to contrast with the background and tabletop. With great detail, the artist was able to even show that there was water held in the vase.

Spring is near, oil, 20 X 16

This piece of painting is composed in such a way that the silhouette of the trees seem to be the main focus. There is much focus on the details of the texture of the trees, suggesting that they, together with their silhouettes, are the focus of the artist. The silhouettes extend from the foreground to mid ground to the background, and this first shadow closes to the foreground seem to appear from behind the artist, and the cropped out effort encourages viewers to think about the setting of the painting.

Winter Sunset, oil

This composition is similar to that of Spring is near, such that he paints the trees in leading fashion towards the background. The short strokes and expressive lines suggest that Titovets is trying to draw emphasis on the leaves of the trees. The painting is lightly toned, and it can be seen that the artist uses a tinge of green to draw contrast in the foreground. The linework is expressive yet not messy, and there is a clear depiction of foreground and background.


The 3 characters are chasing me in my hellish dream world, where it can be seen that the three characters are
slowly getting nearer and nearer to me, and I am slowly fading with grey shadows as they approach me.